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In the late 80s when I first started out on the musical dream* our keyboard player was on the music tech course run by a local college. He managed to get us a gig as the 'house band', which students learning about the recording studio had to record. It was fun as we got to pretend to be rock stars and to present the students with challenges over and above getting the sound on 8 track tape. We ended up with a three track demo for free. An additional bonus came as the keyboardist was given the keys (pardon the pun) to the studio for the half term break. We went in to record as much of our original material as we could over the three days we had managed to organise being available for. The keyboard player - the one with all the studio experience - spent most of the first day trying to set up SMPTE (I think) code on the Atari in the studio while we attempted to set up the mics on drums and amps as we remembered them from the previous sessions. On day two we started to record our long, proggy masterpiece but the Atari wasn't playing ball and it took all day just to get the rhythm tracks down. On day three we managed to complete the proggy number but with only a few hours left, the other 7 or 8 songs didn't have a hope. Until we hit on the idea of setting up as a band and playing the whole set live. Drums in one room, vox in the vocal booth, guitar amp isolated in the drum room and keys and bass Di'd. We managed two run throughs and those are the recordings I still occasionally listen to. *may have been a day dream

A freezing cold Thursday at the Falkirk Blues Club. A brilliantly run club well attended by Blues fans. Venue is the Wine Library on the last Thursday of each month. All seated audience in a small capacity room so 50 people makes it a sell out.

Isn't that what I said? It's what I meant... Studio engineers respond to the needs of the musicians, musicians shouldn't be compromised by engineers working practices. Sorry if I wasn't clear.

There's quantisation and quantisation. Dismissing it out of hand just shows your ignorance. After all the whole band are all trying to play on the same beats at the same time. It doesn't have to mean setting everything to an equally spaced grid. All decent modern DAWs will allow you to create a quantisation template from one of the recorded parts, usually the drums but anything rhythmic with the correct feel for the piece will do. When you do it this way because to are using an actual performance to set the quantisation points they are highly unlikely to fall exactly on the regular 1/8 or 1/16 note intervals. The rest of the instruments are then "quantised" to this template which will have the effect of just tightening up the whole performance without making the actual timing rigid. In conjunction with beat detection for tempo changes it just gives a tight performance with just enough "human" feel. I've also used this method with recordings that have been created entirely from sequenced/programmed sources except for the vocals by finding a drum pattern on a record that has the feel I want and using that to create my quantisation template.

Last night’s tryout rehearsal went pretty well. Turns out 4 of the band had recently baled from an existing party band run by an anus. WhatsApp group set up and more rehearsals to be booked for January, by which time we’ll all have had a chance to get stuck into the set list. It’s not what you know eh…

And the winner is... @AndyTravis..! Here, then, is your Winner's Certificate (download and save as pdf file, then proudly print and frame...) ... BC_Chal_Cert_2023_11.pdf ... which looks like this (but bigger, of course..!)...

Not a gig tonight but a 3hr rehearsal to polish up on our Xmas songs for our first Xmas show on Sat. night. All went well from the start. So we just had some of the cake we bought for our singers birthday today. Dave

I started doing a series of videos that covers topics that a lot of us working Top 40 bass players did back in da day. The Fake Fretless technique was a popular one but hardly gets discussed anymore so I thought Id post it here for you guys to ponder and/or scrutinize lol

Thanks for the tips @Andyjr1515, cocktail sticks worked a treat. Shame the rest of the process was such a faff! Perhaps not helped by my super glue possibly being a bit old... After a LOT of trial and error, I had to make the holes pretty deep, so that the carbon fibre maintained integrity. Glue that in, then cut the stainless steel to fit and glue that in. Let it dry and then file it down. Sounds simple written! Was not easy! Were I to do it again, I'd get carbon fibre with a thicker wall. This is just 0.5mm. 1mm would have made quite a difference I think. Despite the difficulty, I do think it looks good. There is still a fair amount of tidying up that needs to be done.

TC Spark Booster would be my choice

Here is my pedalboard as of today... All ins and outs are connected to the patchbay in the front of the pedalboard, so no pulling cables from units...

There’s a difference between an engineer led session and a producer led session. producers should set the style and tone of the project in consultation with the musicians, engineers interpreted that vision.

Tulips From Hamsterdam — Max Bygraves

It’s funny but when I go into the studio I prefer to work to how the producer wants (aside from radically changing my sound or wanting different instruments to be used). Given we’ve chosen them based upon their results it seems best to work to their preferences.

A little update for those who are interested - I've gigged a Venture V12 and 4x10 cab. Full disclosure - I'm not a Yamaha artist, but the guitarist in my band is. Yamaha invited us over to Germany for a showcase event using their nice, shiny new gear and we asked (very politely) if we could use the same gear for a gig the night after, to save us bringing our own. I haven't been asked to give an account of the Venture series and I'm certainly not being paid to promote Yampeg. My current rig is Ampeg SVT CL and run it through a Fender Neo 8x10 (all paid for by myself - no amp deals yet), and this was a cool opportunity to road test a Venture head and cab in the wild. The first gig was in what looked like a Bond villain's lair, and was essentially Yamaha's Christmas party. Matteo Mancuso was the opening act (with Federico Malaman on bass who was, as you can imagine, a monster) and we had to follow them - no pressure. I had a box-fresh Venture V12 sat on top of an equally box fresh 4x10 cab with a shiny new Yamaha BB P34 on a stand next to it. The V12 head had plenty of oomph, though I think we can disregard the '1200 watts' on the front of the amp; the wattage arms race in the Class D world verges on ridiculous at times. Big numbers don't always mean a big sound, but in this case it did provide me with more than enough volume. Unfortunately on night 1 of our test, our stage volume was pretty quiet, though I did give the whole thing a quick blast on full volume. There was quite a bit of travel in the volume knob; the first half seemed relatively lifeless but quickly became deafening once past 12 o'clock, and the volume was there in spades all the way to max. The amp sounded great but it was used as more of a monitor whilst the FOH did the heavy lifting. The room was boxy and full of shiny concrete surfaces so turning down was our best bet to sound decent. And decent we sounded, according to the videos we saw afterwards. Not much to report, other than it all worked, sounded great and didn't need to be cranked to sound good. The next night, we played at a venue called HeadCrash in Hamburg, which was much more our home territory - a dirty rock bar. Tried as we might, we couldn't arrange for a van to take the equipment from Yamaha HQ to the venue (a paltry 1.5km away) and the weather had become very British, so we opted for 6 Ubers instead. It was as chaotic as you'd expect, getting a band plus all of their equipment and luggage across town, though carrying the cab in its washing machine-sized box was much easier than expected. It certainly didn't stand out like an anvil amongst the leagues of drum paraphernalia and cardboard. Chaos navigated and perplexed Uber drivers calmed, we were soon at the venue. A light and easy load-in up the stairs and I carefully plonked the head and cab onto the stage. Job done. Under stage lighting, the rig looked mean and purposeful. The cab looks like a proper SVT cab and the head is businesslike and focused. This time, I could open up the Venture V12 and give it the beans. At 1 o'clock on the volume knob, it was plenty loud enough to shrug off a drum kit played by a drummer possessed by the spirit of Taylor Hawkins. The gain was set around 12 o'clock and I added in a touch of the SGT circuit to give it some valve crunch. Our FOH engineer blended the clean DI signal with the dirty cab sound to give a really impressive bass sound - looking back through social media videos you could hear fantastic articulation of the bass frequencies and the SGT channel sounds wicked; a really good, slightly overdriven sound that didn't lack or overpower in any frequency band. The cab was punchy and articulate, giving a nice little sizzle to the top end with the tweeter engaged. Honestly, the whole rig punched well above its weight. The Venture V12 and 4x10 cab put on a pretty fearsome roar. My only slight criticism is that it didn't snarl in exactly the same way as my all valve SVT CL, and it compressed the overdrive just a tad compared to the real deal. It didn't quite have the bell-like chime that an SVT can give you when it's at full chat. However, I can safely say that no-one in the audience would notice the difference in the Venture V12 compared to an SVT. The Venture V12 sounded incredible. I've been fortunate enough to use a big SVT for a while now so my ears are naturally accustomed to that big rig. The Venture has its own flavour, but it's certainly an Ampeg and it's a very, very good sounding amplifier and cabinet. Overall, I'd give the rig a solid 9/10 rating. Light, loud, tonally interesting and flexible with its EQ and drive/modelling sections. I'll knock off 1 point for lacking that valvey top end punch, but this amp is a different beast entirely to my setup back home, so perhaps I'm being harsh in docking a point. One place I can dock a point is the price. This rig is just over £2k brand new. It’s very high quality and very light, but when you compare what £2k could buy you elsewhere in the bass amplifier market, it makes it harder to justify. Nonetheless, should my SVT and Fender 8X10 Neo ever going up in flames and I win the lottery, I'd happily replace it with a Venture V12 and a 4x10. Or possibly two 4x10 cabs if I win the Euromillions. IMG_6666.HEIC IMG_6688.heic IMG_6689 2.heic

Not safe for work. Lots of profanity. This guy is very funny, but think he hits the mark very well. Part 1 and 2.

Or just luxuriate in rhythm section family goodness.... https://waterbabymusic.bandcamp.com/album/pocket-change-2-mad-currency

Definitely tapewounds. I use them on nearly everything.

Cheers

As a Yes fan, their extended live version of 'Every Little Thing' is often playing, and the Daytripper riff appears in the introduction. Norwegian Wood also makes an appearance mid song, and it was this that made me think of doing it myself.

I had this, but from people who messaged me first! They responded to my ad, I replied and then..... nothing. Including the one who said "we're finding it really hard to get a bass player who we can rely on". Wonder why?

...Snorkie only needs to use Killer Tones! 😉

Well done to the winner, and thank you whoever gave me a sympathy vote😁

There's a load of great live venues in Bristol city centre - for a covers band I'd look at Mother's Ruin on St Nicholas Street, Mr Wolfs on Baldwin street, The Ill Repute (and possibly the Stag and Hounds - not sure how regularly they put bands on these days) on Old Market and the Bristol Stable on Canon's road on the harbourside

I practice at a pretty quiet volume , and most amps sound thin when you turn them right down. This little preamp/parametric eq does the trick and can fatten things up nicely. No longer made , but it’s a marvellous little box. The Yamaha Nathan East box , the NE-1. I have two practice rigs , and two of these little boxes.

For anyone in a similar situation (only have a potentiometer which is a higher value than required) but who has a fixed resistor of a similar value, you can approximate the actual required resistance curve by connecting the fixed resistor in parallel with the appropriate 2 lugs of the pot. With a 470k ohm fixed resistor connected across these 2 lugs, a 500k pot. will give a good approximation of a 250k pot., with a max. variance of approx 15% around halfway: (where 'R' = 470k ohm) A similar method can be used to approximate an audio taper using a linear potentiometer

It honestly was at first - but it’s grown on me. Was a good month this! well done to all x

I don't do Spotify, but last.fm tells me my top five artists are … Def Leppard Queen The Who Pink Floyd Pearl Jam Mark

Indeed. Its a skill unto itself. Slight derail.... I only recently discovered that the electronic "beep beep boop beep" type click is trumped by a real marmite tone...cowbell! It works for me better than an electronic beep because its more percussive. Since to me it doesn't fit, it stands out more. I've also used a mix of click, drums and in one case I needed the vocal too for some odd reason...

Perhaps it was a tonedesk?

I like how it's strung up, just to make sure your senses are violated no matter where you look. It's the attention to detail, you see...

At least 4 of my recent messages on Join My Band to people seeking musicians have been met with complete radio silence. Exasperating as this may be, it’s a useful indicator that the person posting the ad is not worth working with - they’re too disorganised, thoughtless, or inconsiderate to make even the briefest response.

Its the reason threads like the DOI exist. A massive back patting exercise started by a newbie ( back then ) who wanted to get their likes up faster, so as to look like a real trooper, and lose that ' i'm new here with a low like count ' status Only the sad and kids want to look popular on a tiny insignificant miniscule corner of the internet.